한국불교음악의 기보체계에 관한 고찰 -『지장경』을 중심으로-

Abstract

The present paper studies and analyzes the gakpil marks engraved in Jijanggyeong, an eighteenth century publication preserved by Dankook University Institute of Oriental Studies. Its conclusion contains basically four results, which are described in detail, respectively. First, total of 152 gakpil marks are found in Jijanggyeong. Gakpil refers to letters, marks, and images engraved in the paper using tools such as ivory or sharp bamboo. Unlike brush writing, gakpil can only be read under special lighting as the engravings bear no color. Gakpil marks appearing in Jijanggyeong can be classified into three groups according to their physical length: long marks crossing three or more vertical lines, medium length crossing from one and half to two vertical lines, and short marks less than one vertical line. The majority of gakpil marks are of the short length. Second, gakpil marks can be categorized into straight, curved, and waved. The study concludes that most of gakpil marks (80.7%) belong to curved category. Third, in comparison with the Hakase, the Japanese notation of Buddhist music, the gakpil marks in Jijanggyeong show strikingly similar forms and rules -- notations representing melodies by the means of lines marked next to the text. Based on this finding, the paper concludes that gakpil marks in Jijanggyeong represent melodies and were used to read the Sutra. Hence, the belief that notation of Buddhist music did not exist in Korea proves to be wrong. On the contrary, various marks were used to note melodies as early as eighteenth century. Finally, similar marks as the gakpil in Jijanggyeong have been found in twenty-four other documents, including Panbiryangron, a copy from the eighth century, currently preserved by Otani University in Kyoto. Other documents are copies from the tenth to the eighteenth centuries. The fact that gakpil marks were used in notating melodies in the Sutra critically challenges the uniqueness of Hakase. Furthermore, the present paper argues, through its study of gakpil marks, that such notation technique had already existed in Korea before Hakase initially appeared in Japan.